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Vous êtes juste là pour défendre un produit "Kleenex" c'est pour être poli. The Blu-ray transfer features 5. First Contact was the first Star Trek film to make significant use of computer-generated starship models, though physical miniatures were still used for the most important vessels. An early screenplay draft called for the Defiant to be destroyed, but Deep Space Nine executive producer Ira Steven Behr objected to the destruction of his show's ship and so the idea was dropped. The animated claws of the suit were created digitally as well using a detailed model. The Globe and Mail. For the ship's dramatic introduction, the effects team combined motion control shots of the Enterprise model with a computer-generated background.

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Volkswagen teases five-passenger Atlas for New York debut The two-row Atlas will be built alongside the seven-seater in Chattanooga, Tennessee. Votre vie doit être pitoyable alors. En cas de réutilisation des textes de cette page, voyez comment citer les auteurs et mentionner la licence. Since the two-engine ship format had been seen many times, the artists decided to step away from the traditional ship layout, creating a more artistic than functional design. The Phoenix ' s cockpit labels came from McDonnell-Douglas space shuttle manuals. First Contact is presented in p high definition enhanced for widescreen television.

He reasoned that since the ship was being taken over by a foreign entity, it required more dramatic lighting and framing. Leonetti preferred shooting with long lenses to provide a more claustrophobic feel, but made sure the length did not flatten the image.

Handheld cameras were used for battle sequences so that viewers were brought into the action and the camera could follow the movements of the actors. Since so many new sets had to be created, the production commenced filming with location photography. Four days were spent in the Titan Missile Museum , south of Tucson, Arizona —the disarmed nuclear missile was fitted with a fiberglass capsule shell to stand in for the Phoenix ' s booster and command module. To give greater dimension to the rocket and lend the missile a futuristic appearance, Leonetti chose to offset the missile's metallic surface with complementary colors.

After the completion of the Phoenix shots, the crew moved to two weeks of nighttime shooting in the Angeles National Forest. Zimmerman created a village of fourteen huts to stand in for Montana; the cast enjoyed the scenes as a chance to escape their uniforms and wear "normal" clothes. To give the scene a black-and-white feel, Leonetti made sure to use light without any coloration. After location shooting was completed, shooting on the new Engineering set began May 3. The set lasted less than a day in its pristine condition before it was "Borgified".

Filming then proceeded to the bridge. These lights were then directed towards the actors' faces at degree angles. The set was lined with window paneling backed by red lights, which would blink intermittently during red-alert status. These lights were supplemented by what Leonetti called "interactive light"; these were off-stage, red-gelled lights that cast flashing rims on the bridge set and heads of the crew. For the Borg intrusion, the lighting originated solely from instrument panels and red-alert displays.

The fill light on these scenes was reduced so that the cast would pass through dark spots on the bridge and interiors out of the limited range of these sources. Small and watt lights were used to throw localized shafts of light onto the sets. Next came the action sequences and the battle for the Enterprise , a phase the filmmakers dubbed "Borg Hell". To balance these elements he added more comedic elements to the Earth scenes, intended to momentarily relieve the audience of tension before building it up again.

To give the corridor walls more shape, Leonetti lit them from underneath. Since the halls were so small and the ceilings would be visible in many of the shots, special attention was paid to hiding the light fixtures.

For the live-action spacewalk scenes, visual-effects supervisor Ronald B. Moore spent two weeks of bluescreen photography at the deflector set. Moore used a laptop with digital reproductions of the set to orient the crew and help Frakes understand what the finished shot would look like.

McDonough recalled that he joined Stewart and Dorn in asking whether they could do the shots without the topound 4. The last scene filmed was the film's first, Picard's Borg nightmare.

The shot continues to pull back and reveal the exterior of a Borg ship. The scene was inspired by a New York City production of Sweeney Todd, the Demon Barber of Fleet Street in which the stage surrounded the audience, giving a sense of realism.

The crew used a mm lens to make it easier for the effects team to dissolve the closeup shots with the other elements. Starting from Stewart's eye, the camera pulled back 25 feet 7. The surface of the stage proved too uneven to accomplish the smooth dolly pullback required by the effects team, who needed a steady shot to blend a computer-generated version of Picard's eye with the pullback. Smaller effects sequences, such as phaser fire, computer graphics, and transporter effects, were delegated to a team led by visual-effects supervisor David Takemura.

These rough animated storyboards established length, action and composition, allowing the producers and director to ascertain how the sequences would play out before they were shot. First Contact was the last film to feature a physical model of the Enterprise.

For the ship's dramatic introduction, the effects team combined motion control shots of the Enterprise model with a computer-generated background. Sequence supervisor Dennis Turner, who had created Generations ' energy ribbon and specialized in creating natural phenomena, was charged with creating the star cluster, modeled after the Eagle Nebula. The nebular columns and solid areas were modeled with basic wireframe geometry, with surface shaders applied to make the edges of the nebula glow.

A particle render that ILM had devised for the earlier tornado film Twister was used to create a turbulent look within the nebula. Once the shots of the Enterprise had been captured, Turner inserted the ship into the computer-generated background and altered its position until the images matched up.

The opening beauty pass of the new Enterprise was the responsibility of visual-effects cinematographer Marty Rosenberg, who handled all the other miniatures, explosions, and some live-action bluescreen elements. Knoll decided to shoot the model from above and below as much as possible; side views made the ship appear too flat and elongated. For the Borg battle, Knoll insisted on closeup shots that were near the alien vessel, necessitating a physical model. To make the Borg vessel appear even larger than it was, Knoll made sure that an edge of it was facing the camera like the prow of a ship and that the Cube broke the edges of the frame.

To give the Cube greater depth and texture, Rosenberg shot the vessel with harsher light. I wanted it to look scary and mysterious, so it was lit like a point, and we always had the camera dutched to it; we never just had it coming straight at us," he said.

The model had specific areas which could be blown up multiple times without damaging the miniature. Safety glass was placed over the lens to prevent damage, while the camera was covered with plywood to protect it from bits of plastic that rained down after each explosion. The time-travel vortex the Sphere creates was simulated with a rocket re-entry effect; bowshock forms in front of the ship, then streams backwards at high speed.

Interactive lighting was played across the computer-generated Enterprise model for when the ship is caught in the time vortex. The miniature Enterprise was again used for the spacewalk sequence. Even on the large model, it was hard to make the miniature appear realistic in extreme close-up shots.

Painter Kim Smith spent several days on a tiny area of the model to add enough surface detail for the close-up, but even then the focus was barely adequate. To compensate, the crew used a wider-angle lens and shot at the highest f-stop they could.

The live-action scenes of the spacewalking crew were then digitally added. Wide shots used footage of photo doubles walking across a large bluescreen draped across ILM's parking lot at night. ILM was tasked with imagining what the immediate assimilation of an Enterprise crewmember would look like. Jaeger came up with a set of cables that sprang from the Borg's knuckles and buried themselves in the crewmember's neck.

Wormlike tubes would course through the victim's body and mechanical devices break the skin. The entire transformation was created using computer-generated imagery. The wormlike geometry was animated over the actor's face, then blended in with the addition of a skin texture over the animation.

The gradual change in skin tone was simulated with shaders. Frakes considered the entrance of the Borg Queen—where her head, shoulders, and steel spine are lowered by cables and attached to her body—as the "signature visual effect in the film". The scene was difficult to execute, taking ILM five months to finish. This strategy enabled the filmmakers to incorporate as many live-action elements as possible without resorting to further digital effects.

To make the prosthetics appear at the proper angle when her lower body was removed, Krige extended her neck forward so it appeared in line with the spine. Knoll did not want it to seem that the Queen was on a hard, mechanical rig; "we wanted her to have the appropriate 'float'," he explained. Using separate motion control passes on the set, Knoll shot the lower of the upper torso and the secondary sequence with Krige's entire body.

A digital version of the Borg body suit was used for the lowering sequence, at which point the image was morphed back to the real shot of Krige's body. The animated claws of the suit were created digitally as well using a detailed model. Goldsmith wrote a sweeping main title which begins with Alexander Courage 's classic Star Trek fanfare.

The theme uses a four-note motif used in Goldsmith's Star Trek V: The Final Frontier score, which is used in First Contact as a friendship theme and general thematic link. In addition to composing new music, Goldsmith used music from his previous Star Trek scores, including his theme from The Motion Picture. Because of delays with Paramount's The Ghost and the Darkness , the already-short four-week production schedule was cut to just three weeks.

While Berman was concerned about the move, [63] Goldsmith hired his son, Joel , to assist. While Joel composed many of the film's action cues, his father contributed to the spacewalk and Phoenix flight sequences.

During the fight on the deflector dish, Goldsmith used low-register electronics punctuated by stabs of violent, dissonant strings. In a break with Star Trek film tradition, the soundtrack incorporated two licensed songs: GNP Crescendo president Neil Norman explained that the decision to include the tracks was controversial, but said that "Frakes did the most amazing job of integrating those songs into the story that we had to use them".

The compact disc shipped with CD-ROM features only accessible if played on a personal computer, [66] including interviews with Berman, Frakes, and Goldsmith. The expanded album [GNPD ] runs 79 minutes and includes three tracks of alternates. Frakes believes that the main themes of First Contact —and Star Trek as a whole—are loyalty, friendship, honesty and mutual respect.

This is evident in the film when Picard chooses to rescue Data rather than evacuate the ship with the rest of the crew. The moment marks a turning point in the film as Picard changes his mind, symbolized by his putting down his gun. The Wrath of Khan , and although Braga and Moore did not want to repeat it, they decided it worked so well they could not leave it out. In First Contact , the individually inscrutable and faceless Borg fulfill the role of the similarly unreadable whale in Melville's work.

Picard, like Ahab, has been hurt by his nemesis, and author Elizabeth Hinds said it makes sense that Picard should "opt for the perverse alternative of remaining on board ship to fight" the Borg rather than take the only sensible option left, to destroy the ship. In the end it is Lily the 21st-century woman who shows Picard the 24th-century man that his quest for revenge is the primitive behavior that humans had evolved to not use. The nature of the Borg, specifically as seen in First Contact , has been the subject of critical discussion.

Author Joanna Zylinska notes that while other alien species are tolerated by humanity in Star Trek , the Borg are viewed differently because of their cybernetic alterations and the loss of personal freedom and autonomy. Members of the crew who are assimilated into the Collective are subsequently viewed as "polluted by technology" and less than human. Zylinska draws comparisons between the technological distinction of humanity and machine in Star Trek and the work of artists such as Stelarc.

The Motion Picture in Several novelizations of the film were written for different age groups. Playmates Toys produced six- and nine-inch action figures in addition to ship models and a phaser. The game, Star Trek: Borg , functioned as an interactive movie with scenes filmed at the same time as First Contact 's production. Paramount heavily marketed the film on the internet via a First Contact web site, which averaged 4. After the screening, 1, guests crossed the street to the Hollywood Colonnade, where the interiors had been dressed to match settings from the film: First Contact garnered positive reviews on release.

It has morphed into something less innocent and more derivative than it used to be, something the noncultist is ever less likely to enjoy. The film's acting met with mixed reception. Lisa Schwarzbaum of Entertainment Weekly appreciated that guest stars Woodard and Cromwell were used in "inventive contrast" to their better-known images, as a "serious dramatic actress" and "dancing farmer in Babe ", respectively. Petersburg Times opined that only Cromwell received a choice role in the film, "so he steals the show by default".

Here is real acting! In a Star Trek film! The special effects were generally praised. Ebert wrote that while previous films had often looked "clunky" in the effects department, First Contact benefited from the latest in effects technology.

Critics reacted favorably to the Borg, describing them as akin to creatures from Hellraiser. First Contact was released on VHS in late as one of several titles expected to boost sluggish sales at video retailers.

When Paramount announced its first slate of DVD releases in August , First Contact was one of the first ten titles released in October, [] announced in a conscious effort to showcase effects-driven films. The film was presented in a 2. Enterprise ' s fourth season, marking the first time that every film and episode of the franchise was available on home video. Paramount announced that all four Next Generation films would be released on high-definition Blu-ray on September 22, First Contact is presented in p high definition enhanced for widescreen television.

The Blu-ray transfer features 5. In addition to previous content, the version contains "Scene Deconstruction" featurettes and new commentary by writers Damon Lindelof and Anthony Pascale. From Wikipedia, the free encyclopedia. This article is about the film. For other uses, see STFC disambiguation.

Brannon Braga Ronald D. Jerry Goldsmith Joel Goldsmith. British Board of Film Classification. Retrieved May 22, Retrieved February 8, Assimilating the Individual on Star Trek: In Harrison; et al. Critical Positions on Star Trek. Retrieved November 6, Archived from the original on November 4, Retrieved July 15, Jonathan Frakes takes directing controls of the latest 'Star Trek' film enterprise". Jonathan Frakes is second banana in front of the camera, but top dog behind it in 'Star Trek: First Contact ' ".

The Orange County Register. Retrieved August 4, Daily News of Los Angeles. The Next Generation Companion. Retrieved May 7, Journal of American Culture. Archived from the original PDF on July 16, Continuum International Publishing Group. Dirk Baecker, Urs Stäkeli, ed. Take me to your leader". Retrieved March 23, Retrieved June 1, The New York Times. Retrieved March 22, Retrieved March 24, Retrieved January 2, Retrieved August 1, The Globe and Mail. Archived from the original on April 9, And off to do battle with aliens".

The series now lacks all of its original stars and much of its earlier determination. For one thing, this film's convoluted plot will boggle all but hard-core devotees. Retrieved April 2, Retrieved March 25, Retrieved July 14, First Contact ". First Contact 12 ". Retrieved December 8, Retrieved July 12, Archived from the original on February 7, Retrieved July 17, World Science Fiction Society.

Retrieved July 1, Retrieved July 7, Retrieved July 22, The Music of Star Trek. Lone Eagle Publishing Company. Eaves, John March 15, Frakes, Jonathan March 15, Kaplan, Anna December Magid, Ron December The Next Generation Companion 3rd ed.

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Jeep reveals seven concepts for Moab Easter Safari The convoy includes the Wagoneer Roadtrip heritage model, throwback Jeepster and several modern off-roaders based on the new Wrangler. Several novelizations of the film were written for different age groups.